Purpose – The purpose of this paper is to present a comparative study on the characteristics of knitted fabrics used in the manufacturing of apparel, which are produced from organic cotton, lyocell and soybean protein fiber (SPF). It is important for both the environment and society that textile industry continues to adopt more ecofriendly materials and furthermore, pushes to increase awareness regarding these material choices available to the consumer and the corresponding impacts of consumers’ decisions. The use of sustainable fibers may be a starting point for changing the industrial paradigm of the textile industry. Design/methodology/approach – The research presented herein analyzes the potential use of three raw materials used in the development of knitted fabrics: organic cotton, lyocell and SPF. The experimental trials, based on norms, determined the weight, pilling, rupture pressure resistance, absorption by capillarity, dimensional alteration and elasticity. The significance of the experimental results was verified through the analysis of variance, with a confidence interval of 95 percent (p=0.05) and the determination of the optimal regulation of the machine was made through an analysis of the response surface. Findings – The results indicate that each of the studied materials are suitable for textile application; however, the fabrics manufactured from soybean yarn, compared to those manufactured from organic cotton or lyocell, have a higher potential to meet the needs of the costumer. Social implications – The discussion regarding sustainability is far reaching on the ways it interacts with human life. As such, the latent need for meeting this new demand presents a unique opportunity for the development of new processes and products. In the case of the textile industry, initiatives are gradually being adopted that make the processes used by the supply chain less damaging to the environment. Clothing and fashion are highly visible elements of society, so consequently, the textile industry serves as an excellent candidate for promoting a sustainable and eco-friendly mindset. Originality/value – The incorporation of sustainable fibers can serve as a starting point for change to the industrial paradigm existing within the textile industry. To this point, this study intended to analyze the potential implementation of three raw materials – organic cotton, lyocell and SPF – in the development of knitted fabrics. The results indicated that these materials are adequate for textile applications.

A presente pesquisa caracteriza-se pelo estudo da moda sob a perspectiva da Teoria da Complexidade, proposta pelo pensador francês Edgar Morin. Tem como objetivo atestar a complexidade deste fenômeno e, para tanto, fundamenta-se em uma revisão bibliográfica do Pensamento Complexo enquanto base teórica e metodológica. Posteriormente, identifica três de seus princípios em um recorte bibliográfico, cujo escopo é compreender a dinâmica da moda.

This paper is based on the study of the application of the tools of design methodology in technological textile products also called smart fabrics. The application of the design methodology in the creative process took place in a textile factory by checking the contributions to the creativity, innovation, and quality. The purpose of studying the design practices in the use of resources and methods of the textile contributes to the development of the product and also meets the needs of customers. In this context, modifications were necessary to the development tools in the creative process that may cause the best use, reduction and cost containment improving the overall quality and meeting customers' needs. There is much talk about making products, refining and improving, but there is hardly any detailed application on how to carry it out, what parameters are used to such an achievement and what solutions are applied to the design process. The application in creative processes and product design follows parameters that are often provided by customers. The concepts that are linked to these product development processes, and the understanding of their purpose helps reveal the customers' needs.

The present study discusses the use of textiles in the contemporary production of jewelry in Brazil, highlighting the application of natural fibers. Manual weaving of natural fibers is closely linked to traditional handicraft just as metallic interlacing is used in jewelry production since antiquity. Bibliographical and scientific literature review were carried out as well as consulting collections of Brazilian creators, artists and designers, currently working with jewelry and employing natural fibers. Reflecting on the use of natural fibers in the Brazilian contemporary jewelry, this study has as its reference, in order to make a broad discussion, the work of artists and designers from different regions of the country, whose expression is different regarding natural material available and applied on the works and the productive techniques originated in regional traditions. Considering the search for innovation in the use of materials, it can be observed an intense renewal in Brazilian jewelry, which is impregnated by both unusual natural elements and traditional values of the culture of the country.

Há várias interseções, em vários aspectos, entre arte, artesanato e design, as quais contribuem para a evolução conceitual de cada um dos setores e, ao mesmo tempo, para a interação entre eles. Neste estudo, levam-se em conta os conceitos referentes à arte, ao artesanato e ao design, suas ambiguidades, inter-relações e conexões em suas respectivas atualizações no decorrer de diferentes épocas, que envolvem ações, termos técnicos e materiais, a partir das transformações sociais e contextualizações. A metodologia utilizada opta por uma síntese e adaptação dos autores Löbach, Munari e Baxter, além de Dijon De Moraes. A imagem, como comunicação visual, tem valores diferentes, segundo o contexto onde ela está inserida, e oferece informações diferentes, da mesma forma que permanecerá com maior ou menor intensidade, condensando-se ou diluindo-se, por um tempo maior ou menor no repertório de imagens das pessoas. Todas essas possibilidades integrativas se oferecem em relação aos elementos já existentes e também às possibilidades de “conexões”. Seu aviso de permanência será aquele de pregnância na memória, ou seja, o tempo real de sua verdadeira existência, não o tempo físico, mas, pelo contrário, o de sua pregnância psicofísica, o que dá consistência às leis da Gestalt, sobretudo no tocante à sua lei básica da pregnância da forma. O criador, com sua comunicação não verbal no universo artístico, também irá utilizar o mesmo recurso como seu arquivo de significados representantativos que traz na memória, em conformidade com o ethos de um corpo coletivo, como define Maffesoli.